The albums have been graded on the most common grading system used in
Finnish schools. Where 4 is the worst, and 10 is the best. The final score
for the album is most of the times the average for all of the tracks, though it can also change if the reviewer wishes so. The Super Eurobeat Non-Stop albums will be reviewed as full collections, and the individual songs won't be reviewed, unless they are completely new. Though Euromach and JGTC albums for example will have complete song by song reviews.
The grading system simply goes as ie. 4- (3,75), 4 (4), 4+ (4,25) and 4½ (4,5) and the next one again would be 5-. A simple system we have over here in Finland.

Review of Super Eurobeat 180's

With another decade wrapped up it's time to look back into the past and go
through what the year brought us with. Super Eurobeat is getting closer and
closer to the 200 album post which itself already is a remarkable
accomplishment. The fact also is that the modern music industry these days has
gotten more serious and cheery dance music is a huge minority (at least in the
Western World), so it is refreshing that we still are treated to this sort of
treasures month after month. The last decade brought us upon with new labels and
this time around Dima Music & Sinclaire Stylehave taken a
foothold from the albums to offer eurobeat lovers with more variety. While the
170s were a rather solid decade the 180s generally compete in the same category.
A solid season for all sorts eurobeat lovers, but one thing that stroke me as
different this time around was that we had a lot of fast and energetic material
available as opposed to how 170s were.

180 as a continuum to the long lasting series did what it has always done, which
in a way is slightly disappointing when the big 200 is getting near. When a
century is about to be complete it'd be nice to be treated to some special
goodies á la different sort of bonus discs. But what Avex instead did was cut
off the bonus discs all together at 187 which was a big disappointment for many.
The small extra bits offered through bonus discs were a good treat for many
people buying the albums. The other new thing Avex did was cut off 5 albums from
an album and start offering extendeds as opposed to the old radio edits. This
change has pretty much divided fans into two groups. While others appreciate the
longer edits, there's also the fact that with 5 less songs per album the chances
of getting more fitting songs for each and everyone is slightly slimmer. Also
with the introduction of more labels to SEB means way less songs per label,
which in a way is good for variety, but also this leads to problems when
specific labels only are present with one type songs. And that again is due to
Avex and the person in charge of the tracklistings. Whether going back to the
extended format is for the series' best or not, that shall be seen later on.

With 9 new albums filled with up to date eurobeat we wittnessed the comeback of
the lost Lolita as well as Go Go Girls, entry from the Canadian
duo Melody & Mezzo, first tracks on SEB from both Dima Music and
Sinclaire Style, just to name a few of the memorable and new moments this
decade. The decade started off with a relatively high level as the first 5
albums were all pretty well balanced and offered memorable moments to last for a
long time. The 2nd half of the decade on the other hand stuttered a bit but
fortunately didn't fall to the depths of the lowest peaks the series has had.
After the song amount was dropped down by 5 we've both wittnessed solid albums
that stand very high on the pedestal, but also some that don't quite catch the
spotlight like they should. The presence of remakes was as solid as before on
the first 8 albums, but fortunately the last 2 albums were graced with none of
the kind. Remakes this year have been variable and some have actually worked
really well, but like before we've had some hideous performances this world
could very well live without.

Like in the past years the online stores
mu-mo
and music-master have
remained active and we've been given the opportunity to get the music asap
through them which still works out nicely. As a nice addition to the existing
stores labels like Asia, Delta & HI-NRG Attack also started releasing their
music through
Junodownload, which has even given the opportunity to get the songs in
320kbps format. This sort of service is what most of us have been waiting for a
long time since both mu-mo and music-master have had some difficulties here and
there and for a foreigner these online stores are far from the easiest ones to
use. Yet if you really wanted to get stuff through from there, you'd learn. The
next thing to be waited for is probably being able to get to the depths of the
last missing labels that haven't began releasing their music in the online
stores. Till then, we'll just enjoy what we have now. Every new bit is a step
for the better. From here on we shall move towards the actual review concerning
the 180s, how it has worked out, how it will remain...

Average Grade for 180's : 8

I guess even with the generic level of the whole decade has been hovering
around basic good, the fact is that due to the lack of very bad and very good
albums it all feels somewhat bland. The amount of really perfect bull's eyes is
pretty typical, but to compensate the usual amount of crap songs is also pretty
generic. If the previous decades have been suffering from the generic good
level, this year is not an exception. In a way when year after year the level
seems to stay the same (as a whole) it feels slightly uneventful. So in a way I
was hoping to have a much worse year or much better year for a change to see the
light at the end of the tunnel and get into a new territory. If the 80s were
paving the way for the big 100 and spectacular 90s, the 180s can't really put up
a similar front. Sadly I have to admit I've been feeling that the 190s will
probably follow the trend, but that will remain to be seen. Individual label
reviews shall reveal slightly more why this year over all was a minor
disappointment.

Label

181

182

183*

184

185

186*

187

188

189

Total

A-Beat C

5

6

5

5

5

5

3

3

2

39

Asia/Saifam

1(1)

1

1

1

4

Delta

3

3

3

3

3

3(2)

2

2

2

24

Dima Music

1

1

2

Go Go's Music

1

1(3)

1

1

1

1

1

1

8

HI-NRG Attack

2

2

2

2

2

2

1

1

2

16

SCP

3

3

3(2)

3

3

3(2)

2

2

2

24

Sinclaire Style

1

1

1

1

4

Time

4

4

4

4

4

2

2

1

1

26

* Remixed songs in brackets

Label Reviews:

A-Beat CThe history repeats itself when A-Beat C keeps the total amount of songs per
album trophy yet again. The label has suffered through depression lately but
this decade has finally brought some light to the end of the tunnel. The label
had a really rough path during the 170s which made some fans lose faith in the
label all together. I have a tendency to keep my first impressions intact for a
long time and have tried to preserve the A-Beat C fanboy in myself throughout
these times as well. The good thing during this decade is that the label finally
brought in some new variety, some of the old names we had been missing and most
importantly some really spectacular performances. When the last decade was full
of certain names, this year is not any different. Annerley Gordon appears
through this decade in a whopping 10 songs, which is quite an achievement. Sadly
not all of her performances were well balanced or memorable, but we did hear
quite a few nice presentations. Mega NRG Man and Nuage also made a
lot of appearences with similar trend as Annerley. While some of the
songs by the label suffered from repetitive sounds and uninspired athmospheres
the year brought upon us with a few excellent performances of A-Beat C's
caliber. Also there were a few tracks that at first appeared as boring and
completely horrid like the King & Queen presentation Dance, but
the megamix version from 190 proved to be as striking and dancable as some of
their past classics. Over all the label did huge leaps back and forth from the
start to the end but it definitely did better than during the 170s which is
always nice to see. Having some more Matt Land songs this year was a big
thing for myself and hearing him do really powerful and catchy songs also helped
the process to like A-Beat C during the decade a lot.
There is still lots of room to improve if they cut out the unsoulful tracks and
add in some extra spice and just more of that good old OOMPH. Either way with
the improvement ideas and lacking tracks, my general idea this year was that
A-Beat C handled their job nicely and brought in a lot of fresh air, so the way
is up! Also one thing I found of worth mentioning in the end is that A-Beat C
had 0 album openers and 1 album ender throughout the whole decade, this somewhat
places them into the fall in between category. The openers and enders generally
are valued as "better" and more important pieces since the initial impact and
finishing feelings do mean something. Maybe this is just the direction we're
headed with SEB...

Three words to describe A-Beat C in the 170's: Controversial, Hopeful &
Surprising.

Label Grade : 8-

5 Biggest A-Beat C hits in the 180's

1. Brian Ice - Save Your Voice To Sing A Song (Super Eurobeat - 183)
The biggest impact on me of all of the ABC productions this year without doubt
would be Save Your Voice To Sing A Song. The scarse songs by
Brian Ice generally always work but rarely they are such good examples of
perfectly balanced eurobeat. I have yet to hear complaints regarding this song
as it appeals to the fans of various types of eurobeat lovers. Great vocal work,
nicely different lyrics and an odd yet yet memorable track title are all big
merits for this one. Also a groundbreaking difference to the typical A-Beat C
synth style, or more so just a different way of handling them, with style.

2. King & Queen - Go Go Go Baby Go Go (Super Eurobeat - 185)
The many faces and appearences of Annerley Gordon throughout this decade
offered quite a few addictive tracks but the one that stood out above the rest
is definitely the one with one Go too much. The title amuses and at the
same time embodies the essence of wacky eurobeat in a nice way. In the modern
music industry people would frown upon titles such as this one, but in the feel
good eurobeat world the song just promises a good pace and nice mood, and it
delivers. Simple yet addictive, and it hasn't lost its edge one bit during all
this time. A good sign of a well produced eurobeat song.

3. Matt Land - Magical (Super Eurobeat - 187)
Some songs have more depth than others and for that reason are more hard to
grasp at first. In the eurobeat world in general it's a rare occurrance since
most songs are either right away in your face or down the drain. Magical
is a track that took some time to reveal its true glory but once it did, it
really became a favorite from 187 without doubt. The track flows by with a mid
tempo that sounds faintly mellow, yet strangely mesmerizing. Excellent vocal
work as always, but with this slower presentation Matteo's voice really
does shine through the rest of the production. Not the kind of song I would have
imagined to be his biggest hit this decade but surprises are bound to happen and
this one was one of the most welcome ones.

4. Nuage - Everybody Shake (Super Eurobeat - 184)Nuage's departure from A-Beat C might cause some disturbance in the
force, but the fact is that during the 180s she appeared quite frequently and
had hits and misses, Everybody Shake was obviously the biggest hit from
her this time around. The song follows the trend of her faster songs, which are
definitely the minority in her repertoire. For that very fact it's also more
noticable and also way instantly catchier than the slow ballady tracks. A strong
production with the kind of aggression A-Beat C needs to offer more in the
future to keep their material fresh and addictive.

5. King & Queen - Speedy Runner (Super Eurobeat - 182)
The kind of bounciness King & Queen are customed to is very much present
with Speedy Runner, could you expect anything less? The track gallops on
with a fierce pace that sounds really addictive in these days of variable
eurobeat. Very basic sounds, yet so hard to resist. The song combines the basic
ingredients of a catchy dance song, good chorus, fast and strong beat, wacky
lyrics and over all a good melody to build this all on.

DeltaIf Delta was on fire back in the 170s, the fire still hasn't gone out
definitely. The powerhouse sounds, awesome vocal work and addictive melodies
have been very strongly present during the 180s as well. The best part about the
Delta productions are the fierce energy the producers have managed to put into
their tracks. Covering songs is a trend Time has been guilty of, but also Delta
have started to do the same thing but with a lot better success. After looking
back to the reviews for the albums I noticed that Delta was the label who earned
the highest amount of songs with the grade of 10 (or 10-), this says a lot bout
why I really valued what the label did this year again. The future sights for
the label are really high due to the past decades. Experiementing with various
styles in the past probably wasn't such a bad thing after all when the label
returned to the style they seem the most comfortable with. Mentioningthe
Canadian Melody & Mezzo is a must, since they are one of the few artists
outside of Italy to get a foothold from SEB, although the eurobeat remake of
Nightshade didn't quite compete with the original, it's an ambitious entry.The Cherry songs this decade in particular are worth notion due to
generally high level and a few jewels that'll remain personal favorites for
years to come. If compared to the previous decade the general level was about
the same but a slight decrease might be spotted, all comes down to personal
preference 'bout the styles.

Three words to describe Delta in the 180's: Explosive, Resourceful &
Variable.

Label Grade : 9-

5 Biggest Delta hits in the 180's

1. Cherry - Set Me Free (Super Eurobeat - 182)
From time to time there are songs that just hit you like a thousand volts the
moment you hear them, Set Me Free is pretty much the best example of such
songs. The track kicks off with addictive beat, strong synth hooks and brilliant
vocals by clara. It has been nearly a year since it was released but I still to
date don't skip the track not once when it comes up on my playlist. Clara
Moroni presents us with such an impressive vocal presentation it's hard to
be topped.

2. Cherry - Yes I Will (Super Eurobeat - 184)
If Set Me Free was explosive and right away a classic, Yes I Will
is pretty much a copy of the same, just in a different form. Addictive,
instantly catchy and produced to the maximum. What else can you ask? With the
hints of more global pop through Pink's U + Ur Hand add in a nice
extra spice to go with. Also what is remarkable about the aggressive song is
that the New Generation remix that transforms the song into a completely
different SAW Style 80's pop also works simply perfectly. Surprisingly enough I
would even have to go as far as saying that the remix even beats the supreme
original. This sort of remixes are very rare in the eurobeat world, but shows
how much you can do when experts are at work.

3. Delta Queens - Hello Hello! (Super Eurobeat - 187)
What I stated in my last decade review still applies, the Delta Queens
have yet to disappoint. I have to admit I'm amazed how Delta manages to pull a
bull's eye from this title every year without any difficulties at all. This sort
of aggressive female energy is what I've become most attached to from Delta.
Aggressive song with excellent Engrish to make the people moving. The only
reason I could think of not liking this song is not liking Delta's style in
general, but I find it hard to believe due to the fact that this song just oozes
of smooth edges.

4. Paul Dickenson - Time For A Miracle (Super Eurobeat - 183)
The only male entry to the top 5 is by the new title from Delta that packed a
powerful punch. The track has bits and pieces of old school Delta from the years
when Mako and similar titles were ruling over the male presentations.
Awesome sounds that have just gotten better by time, I find it amazing how the
label has managed to create a track that just gets better the older it gets.
Like good wine, not a common eurobeat phenomenon. Not much to critize about this
song, if every song Delta produced along this level they'd be in the holy
category.

5. Kimmy - My Oh My (Super
Eurobeat - 185)
The one different kind of style that slips its way into the top 5 is by the
wallflower Kimmy. My Oh My is basically a blend of typical western
pop and eurobeat, the pace isn't as fast as most of the Delta productions yet it
sounds very fitting and easy on the ear. An all around fun song which shows the
lighter side of Delta in the kind of light they deserve. Well thought and well
balanced production.

Go Go's MusicIf action is what you want, Go Go's Music got it. The label took a secure
place from SEB during the 170s and this time around they are back with more of
the excellence we heard from them last decade. The label only had one more song
to present as opposed to the 170s which in a way is sad, but then again when the
general level does not notch down at all, it points to the fact that quality is
better than quantity. What I found amusing is the fact that my long lost love
Lolita earned the worst grade of all of the GGM tracks, that says a lot
about their quality (and god forbid that Elena could sing a bad song).
The label presented both powerful masculine racing themes as well as light
bubbly girly girl tracks, and all styles worked magnificently. The variety
speaks for itself, the label has inspiration and knowing professionals at work,
we can expect much more from them. Their level stayed high with every release so
there's no reason to cut down on their already impressive merits, 190s need to
bring us more of GGM.

Three words to describe Go Go's Music in the 180's: Sparkly, Polished & Variable.

Label Grade : 10-

3 Biggest Go Go's Music hits in the 180's

1. Manuel - Gas Gas Gas (Super Eurobeat - 181)
Fierce electric guitars, fat beat, masculine vocals, super synth and vocals to
die for, what more can one ask? Seriously? Gas Gas Gas is still as
impressive as it was a year ago when it was released, pure eurobeat bliss at its
best. Sandro Oliva has created such a fine tuned track it gets close to
perfectionism. Manuel as a performer has kept his strong edge all through
the years and with this sort of presentations he is bound to stay on the top for
much much longer.

2. Mari-San - Secret Destination (Super Eurobeat - 187)
Occasionally songs that blend elements from other genres give out a huge boost
to an otherwise generic song, this time around that is not the case. Secret
Destination is a damn fine masterpiece that would stand well on its own even
without the trancelike elements. The vocals that highly resemble Anastacia
are basically the biggest reason why I love the song so, distinctively different
and sung with such skill it's not even typical in eurobeat circles. Excellent
melody, chirpy sounds and a chorus that gets stuck in your head for days =
ingredients for the daily eurobeat injection.

3. Go Go Girls - People Of The World (Super Eurobeat - 189)
Years without Go Go Girls felt long, even with various other chirpy tunes
around, there's just something distinctively different in the girls, not to
mention they have a lot of nostalgy value for me. People Of The World
hits the target perfectly with a feel good song along the group's general style.
Bouncy, catchy, irresistible and to top that all we have nicely unique elements
that form a song that does justice to the legacy of the Go Go Girls.
Can't wait to hear more.

HI-NRG AttackThe direction HI-NRG Attack seems to be headed is looking interesting, the
label has been putting out a fairly impressive amount of really catchy tracks
this decade. The label has actually managed to cut down on the off the wall
craziness and replace that with well mannered, yet still bouncy style that is
strangely fitting for them. The label pushed forward a pretty equal amount of
male & female performances, but for me the women clearly stole the show. The
only tracks from the label I was quite disappointed with were mostly by the male
vocalists. But generally I'd say the label is moving on a safe zone with catchy
stuff that occasionally manages to break away from the masses, but there is
still that fraction of songs that you forget the second they end. Having a few
additional vocalists that people could actually easily tell apart from eachother
would be nice, that way they could really start making some faces to their weird
presentations. As stated, the direction seems to be the right one, but the
generic level still gets stuck midways like last decade, but some extra work and
we might be treated to a HRG feast in the 190s.

Three words to describe HI-NRG Attack in the 180's: Equal, Speedy &
Booming.

Label Grade : 8+

3 Biggest HI-NRG Attack hits in the 180's

1. Maddy Layne - Lovers In The Night (Super
Eurobeat - 181)
The way the label kicked off the 180s was impressive with 2 really good songs,
but Lovers In The Night clearly stole the show. The HI-NRG Attack style
is so clearly stamped all over the song it might bug people who don't enjoy
their style, but if you like any of the actual speedy material then this is your
pick. Pitched vocals are the only slight minus the song gets but they are easily
overcome due to the irresistible melody and catchy sounds.

2. Franz Tornado & The Bombardier Girls - Bomba (Super Eurobeat - 185)
The Franz Tornado presentations are slowly becoming similar to how
Delta Queens have been for a while now, the only difference is that there
are actually more of them, yet some just fail, but fortunately each year one
song seems to rise above the rest. Bomba is probably the heaviest
presentation we've gotten from the label, like ever. The heavier sound makes the
track seem so much more mature than it's companions in general, which only works
for its advantage. When the label does clearly make a difference with their
sounds the results can be heard right away. If we get treated to more of this,
we can't go too far off the yellow brick road.

3. Leslie Hammond - Run And Run (Super Eurobeat - 188)
I still quite can't grasp why I find this song to be as amazing as it is. The
track has nothing distinctively different, but it just strikes my eurobeat vein
directly. The song is blessed with an intro that leaves the A-Beat C yawn fests
in shame, very simple yet at the same time pretty. Catchy, simple but catchy,
isn't that what eurobeat is often about? Run And Run is definitely the
definition of that.

SCPWhat makes SCP still so special is their constant refresh rate (must be
higher than 60hz). The label keeps pushing forward new artists, new styles and
even covers that work out magnificently. Stefano Castagna and his crew
have found the way to the holy grail of eurobeat it seems, they just seem to
pull off every style they do with such class it's unbelieveble. Ranging from
wacky and fun to more serious and macho, it all falls to place so perfectly. If
the 170s weren't the labels best time the 180s are definitely a step forward
with a huge amount of really memorable presentations as everlasting dance trax.
SCP competes with Delta currently at the amount of best grades over all, and
it's really rejuvenating to see these labels show their variety in so many ways.
SCP stands for quality and I have faith that they will keep at it in the future
as well.

Three words to describe SCP in the 180's: Aggressive, Resourseful &
Innovative.

Label Grade : 9+

5 Biggest SCP hits in the 180's

1. Nick Mansell - Burn Into The Beat (Super Eurobeat - 183)When Nick Mansell first appeared on the eurobeat scene he offered the
fans with such treats it was impossible to turn him away. After all these years
he still keeps pushing forward with aggressive male power that puts the SCP
girls in shame. I in general go for the female vocalists but there's just
something mysterious about Nick's rough style, why does it really work so
well? The vocalist gives a huge amount of extra edge to the songs, but still the
basics have to be intact first of all, and Burn Into The Beat has all of
the pieces of the puzzle in place.

2. Go 2 & Christine - Blood On Fire (Super Eurobeat - 181)
Rarely covers in the eurobeat world become as striking and memorable as Blood
On Fire did. The original by AAA that appeared on Super GT was a nice
tune as it is, but something about the polished SCP style and their powerful
trio made this an instant classic. Aggressive and masculine vocals by Ace,
convincing and flowing rapping by Fastway and as the cherry on top,
beautiful vocals by Christine. The perfect mix is ready and eurobeat just
keeps on playing.

3. Go 2 - NRG (Super Eurobeat
- 181)
Energy, action, fast pace and Go 2. If you were looking for rock-flavored
eurobeat to make your bass pump then this is your pick. The way this and
Blood On Fire appeared on the same album just emphasized the fact how
skillfully the label can produce their material. The duo have made their name
known to everyone following the eurobeat industry and probably have become the
embodiment of eurobeat when it's marketed to anyone unknown to the genre. NRG
would be a good song to throw at a foreigner to the world of eurobeat.

4. The Snake - Queen Of Mean (Super Eurobeat - 188)
The 180s brought us a new vocalist from SCP in the form of The Snake.
This type of macho energy is nicely welcome as opposed to all of the bubbly
girls. The 2nd song from the title really struck gold as Queen Of Mean is
irresistible and full of eurobeat's finest attitude. The track has a special
extra spice of european rock that makes the song remind me of classic 1980's
bands. If you can't appreciate masculine eurobeat this won't probably be your
cup of tea, but for the rest, it doesn't get any better.

5. Christine - Candy Baby (Super Eurobeat - 185)
With all of these macho egoistic men hogging the top 5, we have the chirpy
Christine on her own this time to show us how to have a good time. The
nostalgy sound filled Candy Baby is exactly the kind of material I love
to hear on occasion from SCP. Cheery, addictive and most importantly it doesn't
get old fast, unlike many other songs that follow the similar pattern.

TimeWhen I think of Time during the past year, I have to admit that their
direction is somewhat to my surprise headed up. The label in general did okay in
the 170s and had a problem with so many remakes suffering from horrific
injustices. The 180s have over all repaired a lot of those errors (yet there
also were a few exceptions to this) and thus the label has managed to lift their
head above the water without ease. The only problem I see with the Time
productions is that the male tracks in general sound good and work pretty well
but the female presentations fall down way too frequently. The general level for
the grades from Time hover around 8, which is a clear step forward from how it
used to be, but that just leaves the future open for even more improvements. The
few great presentations by the label do earn Dall'Ora & Maiolini some
good merits, but would just hope there were more breakaways from the form.

Three words to describe Time in the 180's: Improved, Rewinding & Macho.

Label Grade : 7½

3 Biggest Time hits in the 180's

1. Frank Torpedo - Para Para Night 2008 (Super Eurobeat - 185)
The high amount of remakes this decade from Time cut down on a lot of actual new
content which of course bugs me, but the few really great remakes did leave me
feeling good. Para Para Night is definitely the best thing the label put
out this year. Very well modernized and the edge of the original has been kept
intact and even added with some extra flavour. Good vocal work, a catchy chorus
like the legendary original and nice sounds. This sort of material is what a
remake should be made of.

2. Annie - No Borders (Super Eurobeat - 184)Annie's appereances just seem to remain the highlights for every decade
on Time's half. This just makes me wonder how come they can't pull this stuff
off more frequently. Does the woman behind the title actually offer such a
special spice to the song structure it always sets it apart from the other Time
material. Either way No Borders sounds tranquil, very very pleasant to
the ear and all due to the really soothing vocals. It's in Time's benefit that
they have such a different vocalist to offer the label some extra edge.

3. Linda - Love Desire 2007 (Super Eurobeat - 181)
This remake is a fairly bizarre sounding, as the original's style has been
ditched and everything seems overly modernized at first, but after a few plays
it starts to open up. The sounds feel slightly too light the first time around
you hear them, but giving the song a 2nd chance is worth it since the tension
and style just takes longer to really fit. A great original reworked all over,
with some new vocal work added this coulda been _the_ best remake this year, but
it ain't far from it either.

Asia/Dima Music/Sinclaire StyleWith the re-addition of Asia and the 2 new labels on SEB the amount of
labels has been increased to as high as 9, which really does cut down a lot of
potential material from each label. The return of Asia to SEB was somewhat
sudden and just as suddenly the other 2 labels appeared along the ride. I will
include short paragraphs for each label just to squeeze in a bit of info for
each one and see what they generally are working towards to.

Asia came back along for the ride at 186 and as opposed to the multiple tracks
during the 160s they had, the label has only been graced with 1 song per album.
The level of the label hasn't really managed to get to where it could be at its
best. The song selections have been slightly off and over all I've felt the
label just hasn't gotten proper justice. Giving the female vocalists from Asia
some space would probably be a good idea since hearing Mauro in every
single song does get old after a while. Either way, the future can get better
and hopefully 190s actually have something other than male vocals.

Dima Music is the last label to added to SEB and with only 2 songs under their
belt, the label has still managed to kick off with good style. Davide Di
Marcantonio is widely recognized as a true eurobeat legend so it doesn't
really come as surprise that he still manages to create catchy and powerful
tunes that don't feel at all out of place on SEB. The future could bring us with
even more material from this mastermind and hopefully even some extra spices á
la duets and female vocalists.

Sinclaire Style joined the ride when Asia also hopped on board but the label has
suffered from even worse selections than Asia. I'm certain Bratt Sinclaire
has more to offer than the off key presentations so far on SEB. The female
vocalists from this label have mostly suffered from generic style we have heard
years back already, which just sounds like rehashing old tunes over and over.
The future is still open and maybe we could get a new Night Of Fire one
day from the label, keep your ears open.

Three words to describe the 3 labels in the 180's: Shy, Hopeful & Unified.

1. David Dima - Tsundere Night (Super Eurobeat - 188)
This powerful tsundere gi... man made the wet dream of many eurobeat fans true.
Aggressive energy and multiple layered eurobeat straight from the pen of an old
eurobeat wizard. Tsundere Night works magnificently and remains as one of
the highlights from the album it appeared on. If Dima Music can present more
material like this in the future we have a shiny future ahead of us.

2. Megan - Move On Now Baby (Super Eurobeat - 187)
The best presentation Sinclaire Style had to offer worked out nicely, but also
suffered from some generalism. A track that could have been overly powerful with
some changes, but as it is it works smoothly and remains one of the fuzzy
memories from 187 for me. A simple song that has the power to make you feel
good, what most composers try to create.

3. Mark & Roby - Tokyo Tonight (Super Eurobeat - 188)
After all the complaints about Asia, it's still nice to say something positive
especially as Tokyo Tonight works out really well. The song borrows bits
from an old eurobeat classic which gives it that bit of extra edge it might have
lacked otherwise. Catchy, smoothly flowing and especially well balanced in the
chorus. This is a good ground to build the song, with some extra flavors this
track could have been a perfect hit.